Trilogy in the Making

Johnstone, Stefanie

Trilogy in the Making

Johnstone, Stefanie

Permalink

Publication Type:: Thesis
Issue Date:: 2021

Embargoed

	Filename	Description	Size
	01front.pdf	contents and abstract	629.92 kB	Adobe PDF	View/Open
	02whole.pdf	thesis	6.88 MB	Adobe PDF	View/Open

Copyright Clearance Process

Recently Added
In Progress
Embargoed
Open Access

This item is currently unavailable due to the publisher's embargo.

The embargo period expires on 12 Oct 2023

Full metadata record

Field	Value	Language
dc.contributor.author	Johnstone, Stefanie
dc.date.accessioned	2022-02-23T03:53:10Z
dc.date.available	2022-02-23T03:53:10Z
dc.date.issued	2021
dc.identifier.uri	http://hdl.handle.net/10453/154801
dc.description	University of Technology Sydney. Faculty of Arts and Social Sciences.	en_US.UTF-8
dc.description.abstract	The trilogy is an ancient form. The first extant trilogy is almost 2500 years old: Aeschylus’ Oresteia, first performed in Athens 458 BCE. Recent explorations in multiplicities or serialities include Stephen Henderson’s The Hollywood Sequel (2014), Perkins and Verevis’ edited collection Film Trilogies (2012) and Carolyn Jess-Cooke’s Film Sequels (2009). However, despite the form’s age and recent studies made of it, studying the trilogy as a specific type of narrative structure has not been established, particularly from the point of view of the creative practitioner. A trilogy, by definition, is a group of three related works such as plays, novels or films. Trilogy is often compared to other forms of multi-text narrative such as the three-volume novel, threequel or a triptych. Conflating trilogy with these forms leads to the structure either being assumed, dismissed or misunderstood. In this research, I propose trilogy structure as comprising four texts: three individual narratives, and a fourth unifying narrative, that is a text in and of itself. Accordingly, this PhD is a creative practice examination of the specific act of trilogy creation, drawing on examples from novels, films and plays, and the development of my trilogy narrative, The Story of Eorthan. I investigate the trilogy form’s fundamental structure framed through my journey as a trilogy creator, from practitioner to practitioner-researcher. Such a creative practice approach to trilogy adds originality to recent literature in the field of multiplicities or serialities.	en_US.UTF-8
dc.format	Thesis (PhD)
dc.language.iso	en_US	en_US.UTF-8
dc.relation	https://opus.lib.uts.edu.au/bitstream/10453/154801/2/02whole.pdf
dc.rights	info:eu-repo/semantics/embargoedAccess
dc.rights	The author owns the copyright in this thesis including all reproduction and reuse rights for the work. The work may not be altered without the permission of the copyright owner. Attribution is essential when quoting or paraphrasing from this thesis.
dc.rights	au.edu.uts.lib/ppc
dc.title	Trilogy in the Making	en_US.UTF-8
dc.type	Thesis
utslib.copyright.status	embargoed	*
utslib.copyright.embargo	2023-10-12T00:00:00+1000

Abstract:

The trilogy is an ancient form. The first extant trilogy is almost 2500 years old: Aeschylus’ Oresteia, first performed in Athens 458 BCE. Recent explorations in multiplicities or serialities include Stephen Henderson’s The Hollywood Sequel (2014), Perkins and Verevis’ edited collection Film Trilogies (2012) and Carolyn Jess-Cooke’s Film Sequels (2009). However, despite the form’s age and recent studies made of it, studying the trilogy as a specific type of narrative structure has not been established, particularly from the point of view of the creative practitioner. A trilogy, by definition, is a group of three related works such as plays, novels or films. Trilogy is often compared to other forms of multi-text narrative such as the three-volume novel, threequel or a triptych. Conflating trilogy with these forms leads to the structure either being assumed, dismissed or misunderstood. In this research, I propose trilogy structure as comprising four texts: three individual narratives, and a fourth unifying narrative, that is a text in and of itself. Accordingly, this PhD is a creative practice examination of the specific act of trilogy creation, drawing on examples from novels, films and plays, and the development of my trilogy narrative, The Story of Eorthan. I investigate the trilogy form’s fundamental structure framed through my journey as a trilogy creator, from practitioner to practitioner-researcher. Such a creative practice approach to trilogy adds originality to recent literature in the field of multiplicities or serialities.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/154801